Bruce and Jenny Bartlett
Practgical Recording Techniques, 4e
2004
other

#    Title    Time    Info  
1 Introduction 0:21
2 Five Ways to Record 3:24
3 Amplitude 0:22
4 Frequency 0:31
5 Harmonics 0:29
6 Envelope 0:30
7 Frequency Response 0:41
8 Noise and Signal-to-Noise Ratio 0:46
9 Distortion: Digital distortion and analog-cassette-tape distorti... 0:46
10 Echoes and Reverberation 0:57
11 Leakage 0:54
12 Hum and Buzz 0:38
13 Transducer Type: Condenser, dynamic, ribbon 1:00
14 Polar Pattern: Cardioid mic on and off axis; cardioid versus omn... 1:16
15 Microphone Frequency Response: Flat, contoured 1:14
16 Breath Pops: Effect of pop filter, effect of mic placement 0:54
17 Miking Distance 0:58
18 Effects of Mic Placement on Tonal Balance 1:16
19 Stereo Miking the Acoustic Guitar--Close and Distant 1:05
20 Boundary Mics 0:41
21 The Three-To-One Rule 0:36
22 Stereo Mic Techniques: Coincident, near-coincident, spaced 1:24
23 Miking Electric Guitar 0:42
24 Miking Drum Set 2:22
25 Miking Grand Piano 2:19
26 Miking Lead Vocal 1:23
27 EQ 1:50
28 Compression 1:24
29 No Effects on Voice 0:19
30 Echo 0:15
31 Reverberation 0:47
32 Preverb 0:18
33 Chorus 0:14
34 Flanging 0:18
35 Pitch Shift 0:12
36 Tube Modeling 0:16
37 Analog Tape Modeling 0:15
38 Guitar-amp Modeling 0:16
39 The finished mix, before and after 5:42
40 Normalization, peak limiting, compression 2:15
41 MP3 and WMA 1:17
42 Decibels 1:19
43 Thanks for listening! 0:26
Total time 43:58